DOCSLIB.ORG

Samuel French Company Business Records 1847-1992 (Bulk Ca 1880-1920)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Samuel French Company Business Records 1847-1992 (Bulk Ca 1880-1920) AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Samuel French Company Business Records 1847-1992 (bulk ca 1880-1920) Summary: The Samuel French Company Business Records contain the business correspondence, contracts, and financial records accumulated by the company from the 1847-1992. The Samuel French Company published and leased plays in New York, London, and Canada, and the company’s records document their interactions with playwrights and the plays they helped distribute. Quantity: 26.25 linear feet Containers: 26 record storage boxes 2 oversize folders Processed: December, 2012 By: Sara Hawran, graduate student intern, Simmons College Sara Smith, Archives and Special Collections Specialist Finding Aid: January, 2012 Access: There is no restriction on access to the Samuel French Company Business Records for research use. Particularly fragile items may be restricted for preservation purposes. Copyright: Requests for permission to publish material from the Samuel French Company Business Records should be directed to the Archives and Special Collections. It is the responsibility of the researcher to identify and satisfy the holders of all copyrights. © 2010 Amherst College Archives and Special Collections Page 1 Samuel French Company Business Records INTRODUCTION Historical Note The Samuel French Company, also known as the Samuel French Dramatic Publishing Co. and Samuel French & Son, is a company specializing in drama and theatre publication. The Samuel French Company works with playwrights to publish their plays and lease them for production. The company was founded in the mid-19th century by Samuel French (1821-1898) in New York. As the business expanded, Samuel French brought his son, T.H. French, into the operation, and by the 1870s Samuel French and Son had established an office in London. T.H. French was responsible for the New York office and Samuel French operated the London office (T.R. Edwards taking over at the London office after Samuel French’s death). Eventually the business would establish an office in Canada, as well, creating Samuel French (Canada) Ltd. The Samuel French Company still exists in the present day as Samuel French, Inc. History of the Papers and Their Organization These records were collected and maintained by the Samuel French Company. The collection is part of the M. Abbott Van Nostrand Theatre Collection, which was donated to the Amherst College Archives and Special Collections by M. Abbott Van Nostrand (AC 1934), former president of Samuel French, Inc. Related Material at Amherst College Archives and Special Collections • Augustin Daly published material • Samuel French Company Music Holdings • Samuel French Company Theatre Scrapbooks • Truly Yours: one hundred and fifty years of play publishing & service to the theatre, a history of Samuel French, Inc., Amherst College Archives and Special Collections, File Z325.S16.T78 1980 • M. Abbott Van Nostrand oral history interview (1994), https://www.amherst.edu/library/about/support/friends/oral_history/oral_history_intervie ws/van_nostrand Preferred Citation [Identification of item], in the Samuel French Company Business Records [Box #, Folder #], Amherst College Archives and Special Collections, Amherst College Library. DESCRIPTION OF THE PAPERS © 2010 Amherst College Archives and Special Collections Page 2 Samuel French Company Business Records Scope and Content Note The Samuel French Company Business Records consists of 26.25 feet of business materials collected by the Samuel French Company. The records consist of account books, letter books, loose correspondence, contracts, copyright certificates, receipts, newspaper clippings, and other materials collected by the Samuel French Company. The bulk of the collection falls between the years 1880 and 1920, although there are documents spanning from 1847 to 1992. Most of the records pertain specifically to the company owned by Samuel French and his son T.H. French, but there are also a substantial amount of records pertaining to the affiliated organization the Lillian Russell Opera Company and pertaining to another theatrical manager and producer, Augustin Daly. Organization and Arrangement The Samuel French Business Records are arranged by material type. The papers are organized into 3 series: 1. BOUND VOLUMES [1863-1949] 2. UNBOUND DOCUMENTS [1847-1992] 3. FRENCH FAMILY CORRESPONDENCE [1887-1891, 1902] Series Descriptions Series 1, BOUND VOLUMES [1884-1949], consists of account books, letter books, and other bound record books. The series is arranged chronologically, with miscellaneous subseries at the end. The volumes within each subseries are arranged chronologically. The series is divided into 7 subseries: A: Account Books [1856-1949] B: Amateur Books [1912-1918] C: London Books [1884-1919] D: Regular Books [1904-1918] E: Press Books [1878-1931] F: Miscellaneous Bound Volumes [1863-1879] G: Miscellaneous Letter Books [1885-1916] Account Books [1856-1949] (subseries A) contains ledgers and record books which document box office activity and other financial transactions. This subseries is divided into four sub- subseries: American Theatre Account books, Grand Opera House account books, Samuel French (Canada) Ltd. account books, and Samuel French US account books. The volumes within each subgroup are arranged chronologically. © 2010 Amherst College Archives and Special Collections Page 3 Samuel French Company Business Records Amateur Books [1912-1918] (subseries B) consists of letter books containing copies of correspondence relating to amateur productions. London Books [1884-1919] (subseries C) consists of letter books that contain copies of correspondence regarding the London office of the Samuel French Company. The correspondence includes numerous letters from Thomas Henry French to his father Samuel French relating to both business and personal matters. Regular Books [1904-1918] (subseries D) consists of letter books containing copies of correspondence sent by the Samuel French Company. The “regular books” appear to hold general outgoing business correspondence from the company’s US office. Press Books [1878-1931] (subseries E) contains scrapbooks which document certain productions. The scrapbooks primarily contain newspaper clippings. Miscellaneous Bound Volumes [1863-1879] (subseries F) contain the Dramatic Authors’ Society Provincial Tariff (1879) and two books of Augustin Daly copyrights (1863-1870 and 1870- 1925). Miscellaneous Letter Books [1885-1916] (subseries G) contains several different types of letter books. The subseries is divided into two groups: special-purpose letter books and unlabeled letter books. Both groups are arranged chronologically. Special-purpose letter books include Madison Square Garden and “Officer 666” letter books. The unlabeled letter books have no specified focus. Most of them are probably general letter books, possibly precursors to the regular books. Among other topics, the unlabeled letter books contain numerous letters from Thomas Henry French to his father Samuel French relating to both business and personal matters. Series 2, UNBOUND DOCUMENTS [1847-1992], consists of correspondence, contracts, receipts, and other business records that were not stored in bound volumes. The subseries are arranged chronologically, with miscellaneous materials at the end. The series is divided into nine subseries: A: Augustin Daly Contracts [1872-1915] B: Play Documentation by date [1878-1968] C. Play Documentation by correspondent D: Lillian Russell Opera Company [1890-1893] E: American Theatre Company Mortgage [1892-1894] F: Events [1970-1992] G: Miscellaneous Materials [1847-1957] Augustin Daly Contracts [1872-1915, bulk ca. 1880-1900] (subseries A) primarily contains contracts between Augustin Daly and various European playwrights and publishing firms, largely © 2010 Amherst College Archives and Special Collections Page 4 Samuel French Company Business Records in France and Germany, giving Daly the rights to translate and perform their plays in the United States. The bulk of the contracts are between Daly and Felix Bloch, the manager of Germany’s largest publishing company. The series also contains a small amount of correspondence regarding contracts and copyright. Play Documentation by date [1878-1968] (subseries B) contains correspondence, copyrights, contracts, and newspaper clippings corresponding to specific plays distributed by the Samuel French Company. Of special note are the plays from 1902-1903, during the time when the Samuel French Company was active in acquiring British plays to perform in the United States. The plays are arranged in chronological order by the date of the available documentation. Play Documentation by correspondent [1896-1983] (subseries C) is a collection of letters acquired as a group in 2003, containing correspondence between Samuel French, Inc. and authors, publishers, producers and others. Arranged alphabetically by last names of correspondents. See Appendix A for list of correspondents Lillian Russell Opera Company [1890-1893] (subseries D) consists primarily of receipts and vouchers for expenses during a tour of “La Cigale.” The subseries also contains a 1890 contract between Lillian Russell and the Samuel French Company formally establishing the opera company. American Theatre Company Mortgage [1892-1894] (subseries E) contains vouchers, bills, receipts, and general financial information relating to the construction and mortgage of the American Theatre Company building. Events [1970-1992] (subseries F) contains information
Load more

Recommended publications
  • Clark Spring Semester 2020 Homeschoole MT
    Clark Spring Semester 2020 Homeschoole MT JENNA: In the early 1940s, Richard Rodgers and Oscar Hammerstein III’s ‘Oklahoma!,’ adapted ​ from a play written by Claremore playwright Lynn Riggs, opened on Broadway. It was the first musical they wrote together.. KYLE: Each had already found success on Broadway: Rodgers, having written a series of ​ popular musicals with lyricist Lorenz Hart, and Hammerstein, having written the monumental classic, ‘Show Boat.’ But together with ‘Oklahoma!', they would change musical theatre forever. “Oh! What a Beautiful Mornin’” There's a bright golden haze on the meadow There's a bright golden haze on the meadow The corn is as high as an elephant's eye And it looks like it's climbing clear up to the sky Oh, what a beautiful mornin' Oh, what a beautiful day I've got a beautiful feeling Everything's going my way All the cattle are standing like statues All the cattle are standing like statues They don't turn their heads as they see me ride by But a little brown maverick is winking her eye Oh, what a beautiful mornin' I've got a beautiful feeling Everything's going my way All the sounds of the earth are like music All the sounds of the earth are like music The breeze is so busy, it don't miss a tree And an old weeping willow is laughing at me Oh, what a beautiful mornin' Oh, what a beautiful day I've got a beautiful feeling Everything's going my way Oh, what a beautiful day ALEXA I: With its character-driven songs and innovative use of dance, ‘Oklahoma’ elevated how ​ musicals were written.
    [Show full text]
  • Ms Coll\Wheeler, R. Wheeler, Roger, Collector. Theatrical
    Ms Coll\Wheeler, R. Wheeler, Roger, collector. Theatrical memorabilia, 1770-1940. 15 linear ft. (ca. 12,800 items in 32 boxes). Biography: Proprietor of Rare Old Programs, Newtonville, Mass. Summary: Theatrical memorabilia such as programs, playbills, photographs, engravings, and prints. Although there are some playbills as early as 1770, most of the material is from the 19th and 20th centuries. In addition to plays there is some material relating to concerts, operettas, musical comedies, musical revues, and movies. The majority of the collection centers around Shakespeare. Included with an unbound copy of each play (The Edinburgh Shakespeare Folio Edition) there are portraits, engravings, and photographs of actors in their roles; playbills; programs; cast lists; other types of illustrative material; reviews of various productions; and other printed material. Such well known names as George Arliss, Sarah Bernhardt, the Booths, John Drew, the Barrymores, and William Gillette are included in this collection. Organization: Arranged. Finding aids: Contents list, 19p. Restrictions on use: Collection is shelved offsite and requires 48 hours for access. Available for faculty, students, and researchers engaged in scholarly or publication projects. Permission to publish materials must be obtained in writing from the Librarian for Rare Books and Manuscripts. 1. Arliss, George, 1868-1946. 2. Bernhardt, Sarah, 1844-1923. 3. Booth, Edwin, 1833-1893. 4. Booth, John Wilkes, 1838-1865. 5. Booth, Junius Brutus, 1796-1852. 6. Drew, John, 1827-1862. 7. Drew, John, 1853-1927. 8. Barrymore, Lionel, 1878-1954. 9. Barrymore, Ethel, 1879-1959. 10. Barrymore, Georgiana Drew, 1856- 1893. 11. Barrymore, John, 1882-1942. 12. Barrymore, Maurice, 1848-1904.
    [Show full text]
  • The Work of the Little Theatres
    TABLE OF CONTENTS PART THREE PAGE Dramatic Contests.144 I. Play Tournaments.144 1. Little Theatre Groups .... 149 Conditions Eavoring the Rise of Tournaments.150 How Expenses Are Met . -153 Qualifications of Competing Groups 156 Arranging the Tournament Pro¬ gram 157 Setting the Tournament Stage 160 Persons Who J udge . 163 Methods of Judging . 164 The Prizes . 167 Social Features . 170 2. College Dramatic Societies 172 3. High School Clubs and Classes 174 Florida University Extension Con¬ tests .... 175 Southern College, Lakeland, Florida 178 Northeast Missouri State Teachers College.179 New York University . .179 Williams School, Ithaca, New York 179 University of North Dakota . .180 Pawtucket High School . .180 4. Miscellaneous Non-Dramatic Asso¬ ciations .181 New York Community Dramatics Contests.181 New Jersey Federation of Women’s Clubs.185 Dramatic Work Suitable for Chil¬ dren .187 4 TABLE OF CONTENTS PAGE II. Play-Writing Contests . 188 1. Little Theatre Groups . 189 2. Universities and Colleges . I9I 3. Miscellaneous Groups . • 194 PART FOUR Selected Bibliography for Amateur Workers IN THE Drama.196 General.196 Production.197 Stagecraft: Settings, Lighting, and so forth . 199 Costuming.201 Make-up.203 Acting.204 Playwriting.205 Puppetry and Pantomime.205 School Dramatics. 207 Religious Dramatics.208 Addresses OF Publishers.210 Index OF Authors.214 5 LIST OF TABLES PAGE 1. Distribution of 789 Little Theatre Groups Listed in the Billboard of the Drama Magazine from October, 1925 through May, 1929, by Type of Organization . 22 2. Distribution by States of 1,000 Little Theatre Groups Listed in the Billboard from October, 1925 through June, 1931.25 3.
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • 1920 Patricia Ann Mather AB, University
    THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [Show full text]
  • Camera (1920-1922)
    7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America.
    [Show full text]
  • Performing Memory, Transforming Time: History and Indigenous North American Drama
    Performing Memory, Transforming Time History and Indigenous North American Drama Birgit Däwes It is important to . connect our stories of the past to our future. Our future is the generations who will take their stories out into the world of the new millennium and who will create a new legacy for their future generations. This is the “Persistence of Memory.” —Muriel Miguel, “Director’s Notes on Persistence of Memory” I Indigenous drama and performance constitute—along with storytell- ing—the oldest literary genre in the Americas.1 Ranging from the ancient Kwakiutl mystery plays to the Hopi clown dances, performa- tive traditions have been primary modes of cultural expression all across the continent. In the late nineteenth and twentieth centuries, some of these traditions were transformed into pan-tribal and more secular art forms, such as pow wows, pageants, or scripted plays, which also incorporated European American and Asian theatrical styles. When Lynn Riggs gained mainstream popularity in the 1930s (albeit largely without reference to his Cherokee heritage) and the first pageants were performed at the Six Nations Reserve’s Forest 1 © 2013 State University of New York Press, Albany SP_DAW_Ch 00_001-016.indd 1 9/28/12 1:51 PM 2 Birgit Däwes Theatre in Ontario, Canada, in the 1940s, the path was paved for a contemporary Native theatre movement. And this movement is well underway. There are currently over 250 published and far over 600 unpublished plays by some 250 Native American and First Nations playwrights and theatre groups on the North American market.2 Furthermore, the access to an abundance of material is increasing- ly improving: Mimi Gisolfi D’Aponte’s pioneer collection of Native American plays, Seventh Generation (1999), was followed by eight other anthologies dedicated exclusively to indigenous plays,3 and Alexander Street Press’s North American Indian Drama, a digital full- text collection of more than 200 indigenous plays, is even searchable by semantic parameters.
    [Show full text]
  • Printable Version
    GOODSPEED MUSICALS AUDIENCE INSIGHTS MICHAEL GENNARO Executive Director presents Music by RICHARD RODGERS Book and Lyrics by OSCAR HAMMERSTEIN II Based on the play "Green Grow the Lilacs" by LYNN RIGGS Original Dances by AGNES de MILLE Scenic Design by Costume Design by Lighting Design by WILSON CHIN TRACY CHRISTENSEN PHILIP S. ROSENBERG Wig & Hair Design by Fight Director Orchestrations by MARK ADAM RAMPMEYER UNKLEDAVE'S FIGHT-HOUSE DAN DeLANGE Additional Dance Arragements by Sound Design by Casting by DAVID CHASE JAY HILTON PAUL HARDT STEWART/WHITLEY CASTING Production Manager Production Stage Manager Assistant Music Director R. GLEN GRUSMARK BRADLEY G. SPACHMAN F. WADE RUSSO Associate Producer Line Producer General Manager BOB ALWINE DONNA LYNN COOPER HILTON RACHEL TISCHLER Music Direction by MICHAEL O'FLAHERTY Choreographed by KATIE SPELMAN Directed by JENN THOMPSON JULY 14 - SEPT 23, 2017 THE GOODSPEED TABLE OF CONTENTS Character & Show Synopsis................................................................................................................................................................4 Meet the Writers.....................................................................................................................................................................................6 Director's Vision......................................................................................................................................................................................7 How The Pioneers Revolutionized the
    [Show full text]
  • The New-York Historical Society Library Department of Prints, Photographs, and Architectural Collections
    Guide to the Geographic File ca 1800-present (Bulk 1850-1950) PR20 The New-York Historical Society 170 Central Park West New York, NY 10024 Descriptive Summary Title: Geographic File Dates: ca 1800-present (bulk 1850-1950) Abstract: The Geographic File includes prints, photographs, and newspaper clippings of street views and buildings in the five boroughs (Series III and IV), arranged by location or by type of structure. Series I and II contain foreign views and United States views outside of New York City. Quantity: 135 linear feet (160 boxes; 124 drawers of flat files) Call Phrase: PR 20 Note: This is a PDF version of a legacy finding aid that has not been updated recently and is provided “as is.” It is key-word searchable and can be used to identify and request materials through our online request system (AEON). PR 000 2 The New-York Historical Society Library Department of Prints, Photographs, and Architectural Collections PR 020 GEOGRAPHIC FILE Series I. Foreign Views Series II. American Views Series III. New York City Views (Manhattan) Series IV. New York City Views (Other Boroughs) Processed by Committee Current as of May 25, 2006 PR 020 3 Provenance Material is a combination of gifts and purchases. Individual dates or information can be found on the verso of most items. Access The collection is open to qualified researchers. Portions of the collection that have been photocopied or microfilmed will be brought to the researcher in that format; microfilm can be made available through Interlibrary Loan. Photocopying Photocopying will be undertaken by staff only, and is limited to twenty exposures of stable, unbound material per day.
    [Show full text]
  • Haunted by Home Leroy Thomas
    Volume 8 Article 10 Issue 3 Spring 3-15-1989 Haunted By Home Leroy Thomas Follow this and additional works at: https://dc.swosu.edu/westview Recommended Citation Thomas, Leroy (1989) "Haunted By Home," Westview: Vol. 8 : Iss. 3 , Article 10. Available at: https://dc.swosu.edu/westview/vol8/iss3/10 This Nonfiction is brought to you for free and open access by the Journals at SWOSU Digital Commons. It has been accepted for inclusion in Westview by an authorized administrator of SWOSU Digital Commons. For more information, please contact [email protected]. SPECIALS A fAVORiTE OklAhOMAN Haunted By Home A Review By Leroy Thomas Lynn Riggs is a too honored University” (Chapter 3), “The Big Riggs as one who had a “firm but Oklahoma writer not to be included Time: Broadway, Yaddo, and Paris” tender love of the word” and says in this Western Oklahomajournal. (Chapter 4), “ Success Without that his "courage and conviction” Phyllis Cole Braunlich’s HAUNTED Stability: The debut of GREEN serve as examples “for writers BY HOME: THE LIFE AND LET­ GROW THE LILACS” (Chapter everywhere who believe in their TERS OF LYNN RIGGS (ISBN 6), “ Reflected Glory: GREEN material and who know that what 0-8061-2142-4) was published in GROW THE LILACS Returns as they have to say must be said in November, 1988 by the OU Press OKLAHOMA!” (Chapter 10), and spite of all.” and will probably prove to be a “ Facing Toward the Western Sky” HAUNTED BY HOME has re­ major breakthrough in Riggs (Chapter 11). Within these pages, ceived praise from scholars and scholarship.
    [Show full text]
  • The Nineteenth-Century Home Theatre: Women and Material Space
    The Nineteenth-Century Home Theatre: Women and Material Space Ann Margaret Mazur Pittsburgh, Pennsylvania B.S. Mathematics and English, University of Notre Dame, 2007 M.A. English and American literature, University of Notre Dame, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia May, 2014 © 2014 Ann M. Mazur Table of Contents Acknowledgments…………...…………………………………………………………..…..……i Dedication…………...……………………………………………………………………………ii Chapter 1 Introduction: The Home Theatre in Context……………………………………...………………1 Chapter 2 A Parlour Education: Reworking Gender and Domestic Space in Ladies’ and Children’s Theatricals...........................63 Chapter 3 Beyond the Home (Drama): Imperialism, Painting, and Adaptation in the Home Theatrical………………………………..126 Chapter 4 Props in Victorian Parlour Plays: the Periperformative, Private Objects, and Restructuring Material Space……………………..206 Chapter 5 Victorian Women, the Home Theatre, and the Cultural Potency of A Doll’s House……….….279 Works Cited………………………………………………………………………………....…325 Acknowledgements I am deeply grateful to the American Association of University Women for my 2013-2014 American Dissertation Fellowship, which provided valuable time as well as the financial means to complete The Nineteenth-Century Home Theatre: Women and Material Space over the past year. I wish to thank my dissertation director Alison Booth, whose support and advice has been tremendous throughout my entire writing process, and who has served as a wonderful mentor during my time as a Ph.D. student at the University of Virginia. My dissertation truly began during an Independent Study on women in the Victorian theatre with Alison during Spring 2011. Karen Chase and John O’Brien, the two supporting members of what I have often called my dream dissertation committee, offered timely encouragement, refreshing insight on chapter drafts, and supported my vision for this genre recovery project.
    [Show full text]